The AGNSW’s online show Hyper-linked has its rewards but also reveals the perils of rushing art online in a global emergency.

Through their new work for BLEED 2020, artists James Nguyen and Victoria Pham reanimate the Đông Sơn drum, an ancient instrument with great cultural significance for their Vietnamese heritage. “We wanted to build a body of knowledge around this instrument in a way that just isn’t possible in academia or museums.”

Focusing on the perspectives of First Nations artists from Australia and around the world, the 22nd Biennale of Sydney, NIRIN, invites audiences to fight for greater justice and equality. It’s a triumph.

Aiming to confront audiences with the hidden monstrosities of our age, the Adelaide Biennial of Australian Art provokes crucial questions.

The Museum of Contemporary Art’s Cornelia Parker is a testament to the British artist’s vital work, as she contends with the violence and volatility of our times.

In The Construction of an Act, British installation artist Haroon Mirza explores how extraordinary feelings can arise from everyday phenomena.

With art collectives on the rise, this mob – a group of young blak artists – put their work on display in two Melbourne gallery spaces in a bid to subvert the usual way artists interface with the public.

The Tangible Trace, the TarraWarra Museum of Art’s new exhibition, has works of subtle beauty, but ultimately asks too few challenging questions of its audience.

The National successfully unites three cultural institutions in an exhibition interrogating inequality, colonisation and racism.